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HIMALAYAN DRAMA - Bhajagovinda Ghosh

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HIMALAYAN DRAMA - Bhajagovinda Ghosh J;uiTetin of t"i/Jeto/Ogp :f991' HIMALAYAN DRAMA - Bhajagovinda Ghosh In this paper an attempt has been made to give a brief review of principal dramatic literature However, before we discuss the main theme. we propose to give an outline of Lamaist Pantheon. It is well known fact. that canonical literature are faithful transiation from the Sanskrit originals. The verbal accuracy of these translations has been testified by scholars like Max Muller, Rhys Davis. Cowell, Tucci, Sarat Chandra Das, Rahul Sankrityayana and so on. A few translations were made from Pali ego Vol. 30 of Sutras (Rockhill: udanavarga. X ), many original Sanskrit texts are lost from India. In the mediaeval time Indian and Tibetan monks brought them and preserved in old Tibetan monasteries of Samye. Saskya, Nar Thang and Phun Tsho ling etc.. The lamaist literature embodying the 'Buddha vacana' form the second objects or refuge - ''Triple gem." Tibetan Buddhist canon consist of two sets of collection­ Buddha Vacana and Tika - popularly known as Kanjur and Tanjur respectively. The two collection were briefly analysed by illustrious Hungarian (Bodhisattva) libetologist csoma de Koros in Vol. 20 Asiatic Researches, Calcutta (Vol. XX-41 1820s. The Kanjur is divided in three great sections :- Tripitaks (lib. sde-snod-gsum). (i) The Vinaya Pitaka (lib. 'Dul-wa) or Discipline (ii) The Sutra Pitaka (lib. MDo) sermon of the Buddha inclusive Tantra. (iii) The Abhidharma (lib. chos-mngon-pa) or Metaphysics, Prajna Paramita (She-rab-Kyi-pha-Rol-tu phyin pal or transcendental wisdom. Collection of Tanjur generally known as commentaries - is a encyclopaedic compilation of literary works, originally written mostly by Indian saints and scholars in sanskrit and translated into Tibetan by Indian Pandits and Tibetan Lotsawa (Interpreter of Scriptures) in first few centuries commencing from 7th century A. D. Tanjur consist of 225 vols. Classified into several sections ; (i) Tantra (Tib.rgyud) mostly on Tantra rituals, Sadhanas and commentaries in eighty seven vols. (ii) Sutra lika (MOo) one Hundred and Thirty six vols. (iii) one volume contains Hymns to Buddhist deities, saints and Jataka ; (iv) several vols. Modhyamika, yogacara and other Philosophy of Nagarjuna, Asanga, Vasubandhw and other Buddhist scholars. (v) one vol. containing Tibetan­ Sanskrit lexicon of Buddhist philosophical terms-Mahayutpatti. In Tanjur there is also a separate section on Dipankara Shrijnana Atishas works, which includes his famous work Bodhipatha Pradipa (Byam-chub-Lam-sgron). Tanjur contents also include poetic alamkara like Kavyadarsha of Dandin. Chhanda ratnakara of Ratnakarashanti (rhetoric) Kalidas's Meghaduta, Panini. Kalapa and Sarasvata grammars, Ayurveda-Astangahridya samhita and its commentary Padarthachandrika by Kashmirian Pandit Candranandana and so on. Tibetan literature also abound in secular works like drama (Dogar). biography (Namthar), historical works on Buddhism in India, Mongolia and China (Chosjung). popular tales (Sgrungs)of Gesar Saga mighty mythical war like king of Northern Asia, Avandana, legendary story of Buddhas (rtogs-brjod). Enormous collection of 31 ]juffetin of r'ilietofogp 1991 Tibetan religious and secular works are preserved in St. Petersburg, Toyo Bunko. (Oriental Library, Japan and Sikkim Research Institute of Tibetlogy, Gangtok). Besides the substantial collection of Tibetan works are available in Asiatic Society, Calcutta ; Visvabharati and Library of Tibetan works and archives, Dharamsala, Himachal Pradesh. Bihar Research Society. Patna. Two famous Buddhist sanskrit Dramas, Naganande Nataka (Klu-kun-Tu­ dga'ba) and Lokananda IJjg-rten-Kun-Tu-dga'-ba) were translated in Tibetan. The first in sanskrit and Tibetan by M. M. Vidhushekhara-Bhattacharya, Pub. Asiatic Society, Calcutta, the other also translated into English by Miss Ratna Basu. gser­ brang-gyu-brang by Patul Rimpoche. The Tibetan scholars were aware of other Indian works on rhetoric and epics, we find references to them in the commentaries of Kavyadarsa in Tibetan by Dandin. They were inspired to compose the indigenous dramas after studying the aforesaid Sanskrit dramas. Some popular dramas are, staged by Tibetan refugees in exile in India and abroad. There are several 'Dogar Tshog pas' (dramatiC schools) in Dharamsala and other Tibetan settlements in India and abroad. In Sikkim monasteries and shedas on some festival days lamas and laymen stage legendary and historical drama is in local Tibetan sacred Dramas are based upon the former births stories of Buddha (Jatkalskye-rab), are widely staged in Himalyan region Sikkim, Ladakh, Spiti, Lahul and Bhutan. They are performed by professional lay actors and actresses. Generally known as A-Lche-Iha-mo or sister goddess is strictly applicable only to the actresses who take part as the goddesses or their incranation. Some of the dramas have been written by great spiritual leader Fifth The great "Dalai lama" (Ngag-Dbang Blo-Bzang Rgya-mtsho, 1617-1682 A. D) in 17th century and Mingyur Dorjee.ln Tibet the plays were usually performed at fresco without a stage frame to the picture. Now with the change of time and circumtances prinCipal scenery of the plays are painted on the screen which are hung in the back of stage. The plot is presented in the form of chanted narrative comparable to the chorus of Greek plays. In the course of which the participants in leading character dressed in traditional colourful costumes come to stage and speak for themselves some buffonery is given as a prelude and to also fill up the intervals between the acts. They are known as hunters (rngon-pa) with blue mask adorned with cowries. According to Waddell sometimes, as in the Hindu drama, the buffons are Brahman ; This fact stated by Waddell will have to be testified by Tibetan scholars in India, (l. A. Waddell : Buddhism of Tibet or Lamaism). The performance has also religious Significance. It gladdens the god of soil as this guarantees the crops. The god of drama is worshipped at the centre of the stage when an altar is erected, surrounded by trees. The god is said to be Nyingmapa saint Thang-tong Gyalpo,' protrayed as an elderly men with a white beard. The most popular drama of Tibet as rather National drama of Himalaya is the Thi-me-kun-dan (Dri-med kun-Idan). based on viswantara (Pali : vessantara Jataka No. 547) or the last great birth of Buddha. Indigenous drama Nang-sa or the Brilliant Light, "Chogyal Norzang (Chos-rgyal-Nor-bzang) based on Sudhana Jataka (Pali)", 32 lJu/Tetin of ti6etofogp 1997 rgyal-Za Bal-za, commemorates the marriage of mighty king Song-Tsan-Gampo­ po', rgyal-po-Don-Dup the Indian king Amoghasiddha, Do-wa-znang mo ('gro-ba­ bzang-mo) the consort of Kalesvara (Kala Wang-po). The text of the story of vessantara as found in Tibetan canon. Thime Kundan (translated by Scheifner and English translation by Ralston in his Tibetan tales. Another translation by Rose, preserved in B.C. Low collection of Asiatic society, Calcutta; agree generally with pali and Burmese account - The story of we-than- Da-ya (Waddell). ' We give hereunder abstract of vessantara Jataka from Pali canon. This story was told by Buddha while dwelling near Kapilavastu in the Banyan grove, This is the story of Buddhas last birth before attaining Buddhahood. The story is that, when he was performing the duties of Bodhisattva, being in an existence corresponding to vessantara an existance, he dwelt with his wife and children on a mountain called vanka , one day a demon named Kharadathika (Sharp­ fanged) hearing of Bodhisattva's inclination to giving in charity, approached him in the guise of a Brahmin, and asked the Bodhisattva for his two children, the king cheerfully and joyfully gave-up the children, thereby causing the ocean grit earth to quake. The demon dtanding by the bench at the end of the cloistered walk, while the Bodhisattva looked on, devoured the children like a bunch of roots. Not a particle of sorrow arose in the Bodhisattva as he looked on the demon and saw his mouth as soon as he opened it is gorging streams of blood like flame of fire, nay, a great joy and satisfaction welled within him as he thought "my gift was well given." And he put up vow "by the merit of this deed may rays of light one day issue form me in this very way" - In consequence of this prayer of his it was that the rays emitted from his body when he become Buddha filled so vast a space, Tibetan drama "Thime Kundan" or the Omnipotent pure one" is of exceptional interest to students of Buddhism. It recounts the story of one of the incarnations of the saint who was to be later as Sakya Muni. It takes us through a landscape of the most harrowing trials. The scene is laid by Betha, is believed by Tibetans to be the ancient videha which they identify with the modern "Bethiah" in Northern Bengal, but according to scholars it was evidently in Northern India, one may be remote Nepal. The young prince "Th rime Kundan" in his instinct for charity by his father, who opens the Royal Coffers to his son so that he can dispense largesse. He is prompted too by chief minister who is also of a large and benevolent disposition. But there is a minister who is devoted to Evil. Between these two advisers the prince's lot is cast. The prince, in order to circumvent the good work of the Buddha, hurries him into a marriage with princes Mendezangmo. The lady is herself of virtuous quality, and instead hindering the activities or her husband, she supports them wholeheartedly. In the possesion of king is the famous cinta-mani gem (thought-granting gem) which grants all desires. One day a Brahmin appeared unannounced at the court. He has been sent by a king of the neighbouring country to enveigle from the holy this treasure of his father collection.
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